Tag Archives: entertainment

Imagine that you’re young, low on money, and in need of a quick buck. You do a few side-gigs, like drive a taxi or do some yard work. You make some money up front. You’re grateful for it. You wish you didn’t have to do it, but you still did and you’re ready to move forward with your life.

Now, imagine that same work you did ended up making someone else a boatload of money that continues to flow in, even though you’ve long since finished your part. Maybe while mowing the lawn, you discovered a priceless artifact under a tree stump. Maybe while driving a taxi, your car became the site of an infamous crime. Anyone with a white 1993 Ford Bronco SUV can attest to that.

With those ideas in mind, let’s talk about Mia Kalifa. If you don’t know who that is, just ask any straight man with an internet connection and a suspiciously large supply of tissue boxes. You might not get an honest answer, but rest assured, she’s a known public figure and not just because she has over 15 million followers on Instagram.

For someone who was that successful in an industry that’s already exceedingly crowded by an abundance of content, that just doesn’t seem to add up. Most working people make more than $12,000 in a year, even if they’re paid minimum wage. They even get to keep their clothes on. What’s going on here?

There is a context to that story. By her own admission, she was in the industry for about three months. She only got paid a flat rate of about $1,000 for each scene she did and, given how few she ended up doing, it’s still more than minimum wage. She basically made $12,000 for approximately two weeks of work. Ignoring, for the moment, that the work involved making porn, it’s not a terrible rate.

However, what stands out most about her story is that she continues to generate money for the companies that initially paid her. To this day, those scenes she shot still generate traffic for popular sites like PornHub and that traffic still makes its parent company, MindGeek, some additional profit.

Most people don’t know, or want to know for that matter, that the most popular porn sites and studios are owned by MindGeek. Think of any site your significant other won’t admit to visiting. Chances are, they own it. They’re basically the Amazon of porn. They’re so big that there really isn’t a close second.

It’s because they’re so big that Ms. Kalifa’s story isn’t unique. Most people who enter the porn industry, be they male or female, have to go through MindGeek in some form or another. They’re basically a monopoly and because of that, they can get away with shady practices, such as underpaying workers or short-changing them with fine print.

It’s not a situation unique to porn. Other elements of the entertainment industry have used similar practices for years. The music industry has plenty of examples of successful artists who sell millions of albums, but still go bankrupt because most of that money went to the companies they worked for rather than the artists themselves.

Think of any industry that involves performing or creating some kind of art. There’s a good chance that there are cases where someone creates something that becomes successful, but the creators themselves don’t profit from it. Only the companies profit.

Again, there’s a context to that. In industries like music, the top one percent of performers earn over three-quarters of the revenue. Most creative endeavors fail to turn a profit. As someone trying hard to break into the publishing industry, I can attest to how common failure and rejection are. These industries, as shady as their practices might be, need to make a profit and that often requires enduring many losses.

That’s exactly why Mia Kalifa’s story matters. It doesn’t just shed light on the less glamorous aspects of the porn industry. It highlights how the actual people behind popular media don’t reap as much of the benefits as we think. For porn stars, current and former, that’s made even harder by the stigma and taboos surrounding the industry. Ms. Kalifa endured those unpleasant elements more than most.

Given the dirty nature of the business, few politicians or advocates will loudly proclaim they want to help the people in the porn industry. The last few years have been very difficult for anyone in the sex industry. Laws are making sex work more restrictive and more dangerous to everyone involved. Performers will end up with the stigma, but the companies will get most of the profits.

To some extent, what happened to Mia Kalifa’s career is a microcosm of what’s happening to entertainment in general. We’re currently in an era where big companies are acquiring as much intellectual property as possible. Companies, be they major movie studios or porn producers, have a vested interest in controlling the content at the cost of the performers.

Since so few entertainment products turn a profit, these companies have too much incentive to short-change performers and creators. There’s no law that requires companies to give performers a small percentage of future earnings. There’s no law that stops them from exploiting the content created by performers, even if those same performers don’t want to be associated with the work anymore.

Given the money and influence of these companies, that’s not likely to change anytime soon. However, Mia Kalifa did us all a service by making people aware of this very flawed system. The fact that she did this while fully clothed and being brutally honest in a world that lives in alternative facts might be her best performance to date.

I like to talk about the future. I don’t claim to have any special insight, but I suspect I give it more thought than most. I also believe I tend to think farther into the future than most. Whether it’s contemplating the future of how we’ll organize our society or how our sex lives will evolve, I try to contemplate possibilities beyond the next iPhone upgrade.

One aspect of the distant future that concerns me has to do with boredom, namely how it may become a much larger problem and how we’ll go about alleviating it. I’ve done plenty to argue that boredom can be a dangerous force, from creating immortal super-villains to subverting the very concept of Hell. If our future is to be stable, prosperous, and fun, we’ll need some form of entertainment.

With that critical goal in mind, I’d like to speculate on a potential brand of future entertainment that ties directly with the industry that we know today. Specifically, I’d like to imagine how big entertainment companies like Disney will continue to function in world where advanced artificial intelligence, brain implants, and near-universal access to the internet is a thing.

I feel the time is right to think about such things because just last week, Disney radically altered the entertainment industry by purchasing Fox. Beyond just getting the X-men and Fantastic Four rights back for Marvel, Disney bought a massive library of intellectual property that is potentially worth billions. Being a successful business with shareholders, and all, they’re going to want to make billions more.

How exactly are they going to go about that, though? That’s a question worth asking because the answer for the near future is probably not going to work for the distant future. Sure, Disney will probably rake in plenty of profits at the box office, just as they’ve done with Pixar, Marvel, and Star Wars. However, the movie and toy industry can only go so far.

While box office revenue is up, actual ticket sales are way down. More people are opting to stream their content directly, bypassing pay TV and theaters entirely. The same is true for print media, including comic books. Even toy sales are in decline. This is not good for a company like Disney, which has built its empire on media and merchandise.

That’s not to say things are dire. Disney has been around for almost 100 years. In that time, it has adapted through plenty of upheavals. If it’s going to survive another 100 years, though, it’ll have to adapt to a radically different landscape. Buying Fox is likely part of that process. Disney has already made clear that it plans to start a streaming service to compete with Netflix and Amazon.

That’s a good start, but a streaming service is probably not going to be enough, especially in a future where people live longer, work less, and can share more than just text messages with one another. If Disney wants to continue being at the forefront of entertainment, it’ll have to innovate in ways that leverage future technology in new ways.

After the purchase of Fox, though, Disney may actually be in the best possible position compared to every other entertainment company that exists today. That’s because, unlike its competitors, it has a wealth of intellectual property that it owns outright. From Micky Mouse to Marvel heroes, the library of Disney-owned characters is truly staggering.

In the past, this gave Disney the ability to make or license movies, toys, and games for billions. In the future, those mediums won’t be nearly as profitable, but not because those things will fall out of style. I believe that for Disney to make more billions, it’ll utilize its intellectual property in a very different way, one that will likely require an entirely new approach to entertainment.

Think, for a moment, about the current experience you get from a movie theater, a TV show, or even a life show. You sit in a seat and you just watch. You take in the sights and sounds. If done right, it creates a spectacle that you enjoy. However, the fact that the spectacle only utilizes major senses is somewhat limiting.

What if, instead, you weren’t just an audience member sitting in a seat? What if it actually felt like you were there? What if you felt like you were standing next to Captain America as he battled the Red Skull? What if you felt like you were there when Micky Mouse, Donald Duck, and Goofy all broke out into a joyous musical number?

I’m not just talking about better animation or virtual reality. I’m talking about a form of entertainment that makes your brain actually feel as though you’re experiencing something. It’s not quite like the holodeck on “Star Trek.” It’s more like plugging into “The Matrix,” but for reasons other than learning Kung Fu or having existential breakdowns.

Unlike “The Matrix,” though, you wouldn’t be the catalyst for the story. That’s something Disney would take care of, providing only the world and the vast array of sensations that come with it. Instead of paying for a movie ticket, you pay for an experience that lets you interact or feel part of a story involving Iron Man, Micky, or Buzz Lightyear.

That will likely be the most valuable resource of future entertainment, powerful experiences that give customers the rush and fulfillment of being there. Instead of going to a theater or theme park, they would just plug something into their brains, possibly through an implant like the ones Elon Musk is developing with Neuralink. From there, the experience will be directly streamed right into their brain.

It may sound invasive, but we already share so much of ourselves online, from what we had for lunch to the most intimate aspects of our personal lives. We’re already in the early stages of merging our technology. We already see our smartphones as integral parts of our lives. Why wouldn’t we do the same for brain implants?

Unlike a smartphone, a machine/brain interface can’t be dropped into the toilet or left behind by accident. That same interface won’t just augment the ability of our brains to access the entire wealth of human knowledge. They’ll allow us to directly stimulate the areas that forge our entire perception of the world around us.

This has huge implications, some more profound than others. For companies like Disney, though, that link will be critical with respect to maintaining its place as a dominant entertainment company. People already pay for powerful experience, be they movies, video games, or a full-body massage at a spa. Disney could simply cut out the middle-men while leveraging its vast library of intellectual property.

Sure, in the future, you could probably pay for fancy experiences like those offered in “Total Recall.” However, if you want an experience that allows you to be a Jedi, an Avenger, or a singing animal, you’ll have to go through Disney and they’ll be happy to sell you that experience for a price.

Every week, you’ll be able to select from a range of intense experiences the same way you navigate your Netflix queue. For some, you don’t need to leave your bed. You just plug a device into your brain and let it go from there. For others, maybe you travel to special venues that function like the holodecks in “Star Trek.” There, you could share the experience with others, making it a communal experience.

Disney would still likely need content-creators to craft those experiences. That means people like George Lucas and Kevin Feige will still have a job in this future. The particulars of those jobs would be very different, but the goal would be the same. They would create experiences and stories that people are willing to pay for.

As unpredictable as the future is, it’s still safe to assume that people are going to want entertainment. Wherever there’s a want, there will be a business willing to provide it. There will be competition. There will be billions, if not trillions, to be made in profits. Not every company around today will survive that competition. Disney, however, is already in the best possible position to thrive.

As intriguing as those possibilities may be, it’s also worth taking a moment to contemplate the implications. I’m not talking about the potential existential crisis we may face with advancing technology either. I’m referring more to the practical aspects of a future where disease, suffering, and toil are largely mitigated by technology.

Beyond just living in a world with less suffering and less struggle, how exactly would we entertain ourselves? That may seem like a mundane question, given the more serious implications of advances like genetic engineering and advanced robotics, but it’s one of those issues that effects individuals on a personal level.

Enter the fanciful world of “Westworld” and all its implications, sexy and otherwise. For those of you who don’t get HBO, it’s a TV show inspired from an old movie produced by Michael Crichton, also known as the guy who wrote “Jurassic Park.” It’s no “Game of Thrones,” but it has a fair amount of gratuitous violence, nudity, and sex, albeit with much less incest.

Graphic content aside, it’s the underlying concept behind “Westworld” that makes it such an intriguing show. That same concept also has even greater implications for what the future may hold in terms of immersive entertainment, managing artificial intelligence, and how we treat sex robots. For once, I’m not going to focus entirely on the sex robots, since I give that subject plenty of attention.

The appeal of “Westworld,” as both a concept and a show, is built around a company called Delos Inc., which offers its high-paying customers a chance to immerse themselves in a unique experience. For a while, they get to leave civilization, modernity, and all its associated infrastructure behind and live in rugged, lawless world of the old west.

It’s not some movie where they just get to see images of scenery. It’s not some virtual reality that just makes them feel like they’re there, either. It’s a fully realized artificial world, complete with intelligent androids that have the look, feel, and presence of real people. Sure, some still act as sex robots, but that appeal goes far beyond that.

This is a world where you can live a different life, experience in a different time, and explore a world that no longer exists. You don’t watch it. You don’t listen to it. You don’t follow along through the eyes of a protagonist. You are the protagonist. You actually get to live out a real fantasy where the participants aren’t just role playing. They’re sophisticated androids that really believe they are what they are.

Now, the operation and function of those androids has been a major source of conflict within the show. As the show has progressed, controlling these androids and seeing them develop a sense of self has made for great drama. I would argue it’s one of the most engaging aspects of the show. It creates powerful moments that reflect real existential issues with respect to artificial intelligence, some of which I’ve contemplated.

While those issues are profound, in and of themselves, I find myself more interested in how “Westworld” may reflect the evolution of entertainment itself. Look past the issue with managing intelligent androids for a moment and think about the business Delos Inc. is employing here.

I’m still old enough to remember the lousy picture quality of TV shows, the pre-IMAX movie theater experience, and theme parks with less-than-polished exhibits. I still vividly remember going to see “Men in Black” in a theater that was crowded, dirty, and cramped. It was fun, but not that immersive.

This trend reflects the understanding from producers and consumers alike that the most powerful form of entertainment is the kind that offers the most immersion. A game on your smartphone is fun and all, but it’s just data on a screen. It’s not going to engage too many senses.

The same goes for virtual reality, which is basically just putting that same screen over your eyes and bombarding you with sound to make you feel like you’re somewhere you’re not. It also doesn’t change the fact that you don’t have to move your body, exert yourself, or engage in the kind of activity that would lead you to believe that the experience is real. Granted, the brain can be fooled, but only to a point.

What “Westworld” does is logical in terms of crafting an experience that makes people feel like it’s truly real. The customers of Delos Inc. aren’t just observing or following along. They’re actually engaging with this fantasy world. It’s not on a screen. It’s not being projected into their brains. It’s real and they get to be part of it.

That world can literally be anything they Delos Inc. wants it to be. With their resources and their army of life-like androids, they can create all kinds of worlds for customers to explore. These worlds don’t have to be confined by the laws of modern civilization, current social norms, or even notions of reality.

Perhaps they can create an apocalyptic world where participants can kill zombies and live the lives of rag-tag survivors, like those of “The Walking Dead.”

Perhaps they can create a medieval world in the mold of “Game of Thrones” where participants can live the lives of brave knights, lecherous kings, or privileged queens.

Perhaps, if the Marvel Cinematic Universe continues to grow, there can be a world where people either get to interact with the Avengers or even get to be the Avengers. As a comic fan, I would definitely pay for that experience. I would be shocked if Disney isn’t working on something like this now, as we speak.

It doesn’t even have to involve an elaborate fantasy world either. Perhaps there’s a world where participants can live the lives of rock stars in 70s and 80s, complete with cocaine, groupies, and massive concerts where they’re the stars.

In theory, there’s no limit to the kinds of worlds a company like Delos Inc. can create. The old wast in “Westworld” is just one of them. The key is making the world perfectly immersive, but still safe to the point where the costumers aren’t ever hurt and face no repercussions for what happens during the experience.

However, it’s in that key safeguard in which the implications of “Westworld” get more distressing. It even plays out a few times in the show. In this immersive world of the old west, participants can carry out acts that would be wrong, immoral, or downright abhorrent in the real world.

The androids in “Westworld” may be more intelligent than the average exhibit at Disney World, but they’re still just robots playing a role. If a participant kills, rapes, or tortures one of them, there’s no repercussion. The android can just be cleaned up, fixed, and reloaded with a new program like it never happened.

It’s that kind of moral void, so to speak, that may make this brand of entertainment questionable. Say there’s someone willing to pay a lot of money to a company like Delos Inc. to create a world where they could go on a killing spree, murdering and raping as much as they want. This person is a law-biding citizen who has never acted on any violent impulses. Would the company be unethical in accommodating that fantasy?

There may be plenty of other distressing requests. Maybe someone wants a world where they can live the life of an 19th century slave-owner because they want to abuse slaves. Maybe someone wants a world where they’re the Nazis and they get to commit any number of unspeakable atrocities.

Remember, what they do in this world isn’t done to real people. They’re just paying for an experience. It’s not like the kind they would get in “Total Recall” where they only get memories of an experience. In a world like that of “Westworld,” they actually interact with that world. They make choices and do things, but no matter what they do, there’s no consequence or repercussion.

It raises many disturbing questions that are impossible to answer now. “Westworld” attempts to answer some of them, but there are plenty more that are simply beyond the scope of the show. It may do a commendable job focusing on what happens when intelligent robots start to get a will of their own, but it doesn’t do much to explore the implications that this form of entertainment inspires.

It’s going to be quite a while before we have the technology that we see in “Westworld,” but even if the human race progresses to a point where people and society are free from most conflict, there will be a need for entertainment. The form that entertainment takes may just reveal more about us than we care to know.

There was once a time in the mid-90s when Hootie and the Blowfish was the hottest band in the world. They’re music was everywhere. You couldn’t listen to the radio for more than five minutes without hearing one of their songs. I didn’t consider myself a huge fan, but I found plenty of their songs catchy and fun. I still have “Hold My Hand” on my phone.

Then, for reasons I still don’t quite understand, it became cool to hate them. Suddenly, admitting that you enjoyed your music was akin to admitting that you did shots of paint thinner to win a five-dollar bet. It got to the point when even “The Simpsons” made a joke about them in an episode.

The same thing happened to Nickelback in the 2000s. They went through an early period of intense success. Their fourth album, “The Long Road,” sold over five million copies. That’s success that most artists only ever dream of. I even admit I have that album and I love it. Their song, “Feelin’ Way Too Damn Good,” is on my workout playlist.

If I would write that with more sarcasm, I would. However, this piece isn’t about Hootie and the Blowfish or Nickelback. I reference them because they’ve already gone through what’s happening to “The Big Bang Theory” seems to be enduring right now. They’ve risen to the top, defying the odds to achieve a level of success that most can only dream of. Then, it becomes cool to hate them for any number of reasons.

I watch it regularly. I even laugh at it. It has flaws, but I think the things it does well do plenty to overshadow those flaws. Sheldon is eccentric, but funny. Amy is quirky, but endearing. Howard, while creepy in the early seasons, has really grown up in all the right ways over the years. I would even go so far as to say that the show is worth watching just for Raj Koothrappali.

Who are you people? The people watching The Big Bang Theory, I mean. Show yourselves. The world demands explanation. I mean that, too. In every way, shape, and form, this is the Justin Bieber of television shows.

I know the internet is full of this kind of trolling, but we’re not talking about snuff films and public crucifixion here. It’s a goddamn TV sitcom. It tries to be funny and entertaining. It doesn’t always work for everyone, but it still works for some. Are those people, which I guess includes me, somehow damaged just for liking this show?

I could probably ask the same of those who enjoy music from Nickelback and Hootie and the Blowfish. I could even offer a partial answer if I only use the basis of personal taste. That is, after all, what the consumption of all media is, be it music, movies, or TV. You tend to consume what you like. It’s that simple.

However, for an issue like this, there are added complications when something becomes cool to hate. Suddenly, it’s no longer a matter of just liking something different. It’s a matter of having some inherent personal flaw for liking something that has a vocal contingent of critics.

Call those critics whatever you want. Call them hipsters, trolls, or any number of other names that would warrant fines from the FCC. They’re still driven by the same focused outrage that dominates politics, religious disputes, and Overwatch tournaments. The only real question is why a show like “The Big Bang Theory” gets singled out.

It’s a hard question to answer and I’m not qualified to answer it completely. However, I do think something strange happens to movie, TV show, or band when they get so successful and so acclaimed that those who don’t like the show just can’t stop at not watching it.

Some of that might be out of envy. There’s only so much success to go around. The fact “The Big Bang Theory” is so successful means, in the eyes of those who hate it, that it’s robbing success from shows that might be funnier or more worthy of it. Never mind the fact that the humor and worthiness of a show is completely subjective. Fans of that show will see “The Big Bang Theory” as a thief and a fraud.

I suspect there’s a deeper reason driving the hatred towards “The Big Bang Theory” that even Nickelback doesn’t have to deal with. I think part of that reason has to do with the archetypes the show uses. I don’t think it’s a coincidence that the combination of nerdy, socially awkward young men and a cute ditzy blonde conjures some heated emotional reactions, to say the least.

There’s no doubt that combination is contrived and relies heavily on old stereotypes. Then again, you could say that about a lot of other shows. The fact this one uses nerds and cute blondes, though, just makes it seem more overt. It makes every joke, every plot, and every gag seem cheap or forced.

Since its inception, “The Big Bang Theory” has relied a lot on stereotypes for its characters and its humor. Like all shows, it exaggerates certain personas. Sheldon Cooper, alone, is a testament to a character whose quirks are taken to a ridiculous extreme.

By relying on these stereotypes, though, it makes itself an even bigger target. Laughing at the show, in the eyes of some, means accepting some of these stereotypes and having the audacity to find them funny. That appears to be the undertone of the Cracked article I cited earlier. It seems to be the undertone of a lot of the hatred the show gets.

Now, I don’t deny that “The Big Bang Theory” can go overboard with cliches and stereotypes. There are a number of episodes in “The Big Bang Theory” that even I find bland. However, for the most part, I still laugh. I still find myself enjoying the story. Even when I can apply some of those stereotypes to myself, I still laugh.

At the end of the day, “The Big Bang Theory” is still just a TV show in the same way Nickelback is just a band. Nobody forces anyone to watch it. It’s easy to just change the channel and watch something else. However, when a show becomes so successful while relying on a premise that is getting more politically incorrect with each passing year, it’s bound to attract criticism and not just from the hipster crowd.

I still enjoy the show and I intend to keep watching it. I also intend to keep all the songs by Nickelback and Hootie and the Blowfish on my phone for the foreseeable future. If that makes me uncool in the eyes of some, then so be it. To me, it doesn’t matter if something is cool to hate. Petty hate is still petty hate.

I also expect to see plenty more hatred directed at the show for how it treats nerds, women, minorities, and humor. It’s just too successful and too big a target to avoid that kind of scrutiny. In that situation though, as with Nickelback and Hootie and the Blowfish, sometimes the best you can do is just laugh and enjoy it on your own terms. Bazinga!

Granted, those hints are obvious through the lens of hindsight. I don’t mean to make it sound like predicting a crisis is easy. If it were, then nobody would ever lose money in the stock market and terrorists would be out of a job. It’s an unfortunate, but unavoidable theme in human history. The various signs of looming issue are subtle and the implications require more foresight than our brains permit.

That doesn’t mean we shouldn’t make an effort to sniff out a crisis before it happens. The cost of being wrong is usually far less than the anguish of being right, albeit with a few notable exceptions. I’ve been talking about a particular crisis that may very well be in the early stages as I write this. It doesn’t involve harassment, wars, or economic collapse, though. It involves boredom.

Call it the boredom wave. Call it the coming War on Boredom. Call it whatever you want. It’s an issue that we’ll have to address on some levels. As more and more of society becomes automated by machines and streamlined by artificial intelligence, more and more people will have more and more free time on their hands.

Recently, though, another sign emerged, courtesy of The Daily Beast. In a recent article, Taylor Lorenz explores some revealing anecdotes about how the emerging youth in Generation Z is getting bored with the internet activities that have kept Millennials so entertained for the past couple decades. If the War on Boredom is to be a real conflict, then this could end up being the catalyst.

Say what you will about the veracity of these anecdotes. There’s a reason anecdotal evidence is considered weak evidence by the legal and scientific community. These stories still offer distressing insights with equally distressing implications. This is just one that the article highlighted.

“When I’m bored while I’m on my phone and I’m switching between different apps… I’m just searching for something to do,” said Addie, a 15-year-old in Long Island. “It’s like walking around your house in circles.” Often, they’ll find nothing on their phone entertaining and simply zone out and daydream.

Now, I’m sure every previous generations, from Millennials to the Baby Boomers, will roll their eyes at that complaint. I can already hear the condemnations of this emerging generation. A part of me, a Millennial, even feels that way.

They say things like, “You kids have no idea how great you have it! You’ve got a gadget in your pocket that gives you unlimited access to the entire library of human knowledge and an endless stream of entertainment, from books to videos to pictures of cats. How the hell can you be bored by that?”

However, that’s easy to say for those who are old enough to remember a world without the internet, smartphones, or streaming media. I didn’t have internet access in my house until I was about 13-years-old and even then it was a dial-up connection that was painfully slow and prone to cutting out suddenly. In terms of combating boredom, my generation had different tools and different methods when we were kids.

To us, as well as the generations before us, the usage of smartphones and the entertainment content of the internet is still amazing to us. I still remember what it was like being at the complete mercy of what was on TV and having to play video games with no online multiplayer or DLC. Those time seem so distant now, but the teenagers of Generation Z have no such perspective.

From their point of view, smartphones have always existed. The internet has always been this ubiquitous thing that they’re a part of. It’s not a modern wonder to them. It’s a trivial, mundane part of their lives. People like me can’t see it like that because we still remember a world without it.

As a result, Generation Z isn’t going to see all the entertainment and media as a wonder. They’re going to see it as part of their normal and no matter what form normal takes, it’s still going to be boring to some extent. That’s part of what makes normal what it is. The article itself even acknowledges this.

It’s tempting to think that these devices, with their endless ability to stimulate, offer salvation from the type of mind-numbing boredom that is so core to the teen experience. But humans adapt to the conditions that surround them, and technical advances are no different. What seemed novel to one generation feels passé to the next. To many teens, smartphones and the internet have already lost their appeal.

It goes even further, distinguishing how Generation Z sees their smartphones and contrasting it with their Millennial predecessors. When someone my age or older sees a teenager on a phone, we don’t usually assume they’re just bored. We think they’re just another self-obsessed teenager who can’t resist checking their social media feeds every half-second.

While it’s much easier and more self-serving to assume that teenagers are just that self-obsessed, it’s probably more likely that boredom is a larger factor here. I would take it further than that. I would go so far as to claim that this is one of those signs that we foolishly overlooked in the future.

These teenagers have access to the same technology and media that has kept other generations so engaged and enthralled. However, they’re seeing it and they’re bored by it. Anyone who knows anything about boredom understands that when boredom reaches a certain level, you’ll go to extremes to feel any kind of stimulation.

With that in mind, what kind of extremes will Generation Z resort to in their efforts to combat boredom? If they can’t get it from their phones or their computers, how will they combat this issue? To them, it’ll be a war. To every other generation, it’ll seem asinine. However, it may very well consume the social and political landscape of the future.

Picture the following scenario that may or may not end up being a common occurrence in the near future. It’s not a thought experiment. It’s not a prediction either. It’s just a possible manifestation of what our future might hold.

It’s late at night and you decide to check out some porn. You struggle to decide which one you want to watch. You’re in the mood for something new so you search a little more. You find some elaborate scene where Amy Shumer is a transvestite and she’s doing it with Justin Bieber.

Eventually, you settle on the hottest new scene that just came out the other day. It has Kevin Hart, Steph Curry, and Michael B. Jordan all taking turns with Scarlett Johansson in a sauna in Paris. The scene plays out. You love ever minute of it and decide to save it.

I admit that scenario was pretty lurid. I apologize if it got a little too detailed for some people, but I needed to emphasize just how far this may go. It’s an issue that has made the news lately, but one that may end up becoming a far greater concern as technological trends in computing power and artificial intelligence mature.

The specific news I’m referring to involves something called “deep fakes.” What they are doesn’t just have huge implications for the porn industry. They may also have major implications for media, national security, and our very understanding of reality.

In essence, a deep fake is a more elaborate version of Photoshopping someone’s face into a scene. That has been around for quite some time, though. People pasting the faces of celebrities and friends into pictures from porn is fairly common. It’s also fairly easy to identify as fake. The technology is good, but not indistinguishable from reality.

That’s where deep fakes clash with the porn industry. It’s probably not the biggest implication of this technology, but it might be the most relevant in our celebrity-loving culture. In a sense, it already has become an issue and it will likely become a bigger issue in the coming years.

Now, it’s not quite as impressive as it sounds. This wasn’t a fully digital rendering of an entire scene. It was just a computer imposing Gal Gadot’s face onto that of a porn actress for a scene. In terms of pushing the limits of computer technology, this didn’t go that far. It was just a slightly more advanced kind of Photoshopping.

Anyone who has seen pictures of Gal Gadot or just watched “Wonder Woman” a hundred times, like me, could easily tell that the woman in that scene isn’t Ms. Gadot. Her face literally does not match her physique. For those not that familiar with her, though, it might be hard to tell.

That’s exactly why PornHub removed it. Their position is that such deep fakes are done without the explicit permission of the person being depicted and constitute an act of revenge porn, which has become a major legal issue in recent years. These are PornHub’s exact words.

Non-consensual content directly violates our TOS [terms of service] and consists of content such as revenge porn, deepfakes or anything published without a person’s consent or permission.

While I applaud PornHub for making an effort to fight content that puts beloved celebrities or private citizens in compromising positions, I fear that those efforts are going to be insufficient. PornHub might be a fairly responsible adult entertainment company, but who can say the same about the billions of other sites on the internet?

If that weren’t challenging enough, the emergence of artificial intelligence will further complicate the issue of deep fakes. That’s because before AI gets smart enough to ask us whether or not it has a soul, it’ll be targeted to performing certain tasks at a level beyond any programmer. Some call this weak AI, but it still has the power to disrupt more than our porn collection.

In an article with Motherboard, an artificial intelligence researcher made clear that it’s no longer exceedingly hard for someone who is reckless, tech-savvy, and horny enough to create the kind of deep fakes that put celebrities in compromising positions. In fact, our tendency to take a million selfies a day may make that process even easier. Here’s what Motherboard said on just how much we’re facilitating deep fakes.

The ease with which someone could do this is frightening. Aside from the technical challenge, all someone would need is enough images of your face, and many of us are already creating sprawling databases of our own faces: People around the world uploaded 24 billion selfies to Google Photos in 2015-2016. It isn’t difficult to imagine an amateur programmer running their own algorithm to create a sex tape of someone they want to harass.

In the past, the challenge for any programmer was ensuring every frame of a deep fake was smooth and believable. Doing that kilobyte by kilobyte is grossly inefficient, which put a natural limit on deep fakes. Now, artificial intelligence has advanced to the point where it can make its own art. If it can do that, then it can certainly help render images of photogenic celebrities in any number of ways.

That means in future deep fakes, the people involved, be they celebrities or total strangers, will look and sound exactly like the real thing. What you see will look indistinguishable from a professionally shot scene. From your brain’s perspective, it’s completely real.

That blurring of virtual reality and actual reality has huge implications that go beyond the porn industry. Last year, I pointed out how “Star Wars: Rogue One” was able to bring a long-dead actor back to life in a scene. I highlighted that as a technology that could change the way Hollywood makes movies and deals with actors. Deep fakes, however, are the dark side of that technology.

I believe celebrities and private citizens who have a lot of videos or photos of themselves online are right to worry. Between graphics technology, targeted artificial intelligence, and voice mimicry, they’ll basically lose control of their own reality.

That’s a pretty scary future. Deep fakes could make it so there’s video and photographic evidence of people saying and doing the most lurid, decadent, offensive things that it’s possible for anyone to do. You could have beloved celebrities go on racist rants. You could have celebrities everyone hates die gruesome deaths in scenes that make “Game of Thrones” look like an old Disney movie.

For now, deep fakes are fairly easy to sniff out and the fact that companies like PornHub are willing to combat them is a positive sign. However, I believe far greater challenges lie ahead. I also believe there’s a way to overcome those challenges, but I have a feeling we’ll have a lot to adjust to in a future where videos of Tom Hanks making out with Courtney Love might be far too common.

We do it in our personal lives as well, giving second chances to those we love. Sometimes it works out. Sometimes it doesn’t. However, the first step, and arguably the most important, is giving that chance to someone, even when you haven’t forgotten the extent of their mistake.

That brings me to the XFL. I’m sorry, but there’s just no way to effectively transition to this topic. I know the title alone sounded like a jumbled compilation of random thoughts from someone who talks about everything from sex robots to superhero movies. I promise I’m going somewhere with this. I also promise it’s both relevant and applicable.

The story of the first incarnation of the XFL is an amazing story. The fact that it also involves exceedingly sexy cheerleaders doesn’t hurt it’s appeal either. Just last year, ESPN did a documentary on that story called “30 For 30: This Was The XFL.” If you want a comprehensive take on what happened to this over-the-top league, this I highly recommend you check this out.

By the end, you’ll appreciate why giving McMahon and the XFL a second chance is such a big deal. It may even give you a better appreciation of why second chances are so hard to give at times. In a sense, this second incarnation of the XFL may end up being a case study on the underlying merit of second chances or the lack thereof.

Well, I can only speak for myself. I’m not a sports expert any more than I’m a brain surgeon. However, in the spirit of second chances and learning from past mistakes, there are a few I think are worth considering with both the XFL and life in general.

A Second Chance Can Prove You’ve Learned From Failure (And Are Able To Learn In General)

This is as valuable a skill in helping the new XFL succeed as it is for anyone who has ever screwed up in life, which covers pretty much everybody. This is probably the most important aspect of second chances. It gives an opportunity for someone to do more than just claim they’ve learned. Now, they can show it.

It’s hard to say for certain what McMahon will do differently at this point. However, if the content of his announcement is any indication, he’s very much aware of why the XFL failed the first time. He’s ready to take those hard, not to mention expensive, lessons and try again.

Given the breadth of McMahon’s success, he’s someone who can make more out of second chances than most. That’s why I’m going to give him this one, even if I find his persona annoying.

Second Chances Reveals Opportunities Otherwise Not Seen

It’s a common theme in business, romance, and everything in between. Both failure and success create opportunities. The failure of “Batman and Robin” paved the way for “Batman Begins.” The success of the iPhone paved the way for the booming smartphone business.

In that respect, the XFL’s timing couldn’t be better. It’s coming along at a time when fans are somewhat disillusioned with the NFL, but have little alternatives beyond the hopelessly corrupt NCAA. The XFL could finally give the NFL the kind of competition that is necessary for any product, service, or art to innovate.

Let’s face it. We humans are a competitive species. If someone is doing something better than us, be it football or underwater basket weaving, we want to match and exceed them. It drives us to be better. It helps make us better people.

Football needs that right now. The NFL needs that. The XFL has the perfect opportunity to achieve this. Combined with the lessons of their first failure, they have much more going for them now than they did in 2001.

Greater Risks Bring Greater Rewards (And Greater Lessons)

This is probably the most important aspect of second chances for both the XFL and for life, in general. Everything that’s worth doing, whether it’s creating a new football league or finding the love of your life, requires a certain degree of risk. Some aren’t willing to risk that much, but those who are have a chance to achieve much more.

I say this as someone who avoided taking major risks until much later in life. Looking back on how I carried myself in my youth, I regret not taking more risks. Hindsight has revealed that I missed out on some pretty big rewards, both material and personal. Sometimes, you really have to do what your brain says is insanely risky to get those kinds of rewards.

At the moment, most people probably think he’s crazy and bound to fail. Those people aren’t willing to take the risk, but none of them have a shot at the big reward that McMahon is seeking. Even if the chances of the XFL succeeding are less than one percent, it’s still greater than zero and that’s all the chance you need with a second chance.

A Second Chance Can Also Help Fix Broken Or Flawed Systems

This is the part of the new XFL that has me the most intrigued, as a football fan. That’s because, as it stands, the system for developing players for the NFL is basically a cartel wrapped in a monopoly. The NCAA is the cartel. The NFL is the monopoly. If you want to make a living playing football, these are the sole gatekeepers.

It’s a system with many flaws, which have been documentedon more than one occasion. The problem is there’s no incentives to fix those flaws. Neither the NCAA nor the NFL have any pressure to do so. They wield total power over all things football and can be as unjust as they want.

The XFL can change that. They can shake up a system that does plenty to screw over college players and professionals if they fail to make it in the NFL. They can provide a new path, bring new ideas to the table, and take chances that a cartel and a monopoly don’t even think to take.

It wouldn’t be the first time a monopoly got broken up. In most peoples’ lives, they either avoid situations where someone has all the leverage or work to subvert it. We do that with the people we work with and the people we love. Again, it often requires that we take risks and chances. However, it only has to work once to affect change.

It’s still not clear just what the new XFL will bring to the table or if it will succeed. For now, it has many forces working against it. However, as both a football fan and someone who sees the merit of second chances, I’m willing to give it one.